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We have arrived! Today "Flog It!" is in Richmond, Yorkshire, | 0:00:02 | 0:00:05 | |
and hopefully the locals will be making their way to the Market Hall | 0:00:05 | 0:00:09 | |
laden with unwanted antiques and collectibles. | 0:00:09 | 0:00:12 | |
Yes, "Flog It!" is in town! | 0:00:12 | 0:00:14 | |
The picturesque town of Richmond is situated on the banks | 0:00:33 | 0:00:36 | |
of the River Swale, and is steeped in history. | 0:00:36 | 0:00:39 | |
High above the town is the breathtaking Richmond Castle, | 0:00:39 | 0:00:43 | |
which was built in the reign of William the Conqueror. | 0:00:43 | 0:00:45 | |
Its construction is of stone rather than wood, | 0:00:45 | 0:00:48 | |
which was incredibly unusual for its time. | 0:00:48 | 0:00:50 | |
In fact, it's thought to be the first stone-built castle in England. | 0:00:50 | 0:00:55 | |
Back down at ground level, I hope this huge crowd gathering here | 0:00:56 | 0:01:00 | |
have got some unusual antiques for our experts to value. | 0:01:00 | 0:01:03 | |
And they've all come to ask that all-important question, which is... | 0:01:03 | 0:01:07 | |
THEY ALL SHOUT What is it worth? | 0:01:07 | 0:01:09 | |
And when you know, what will you do? | 0:01:09 | 0:01:11 | |
-THEY ALL SHOUT Flog it! -That's right! | 0:01:11 | 0:01:13 | |
It's now 9:30. Let's get the doors open | 0:01:13 | 0:01:15 | |
and get this massive crowd inside. Ready to go in? | 0:01:15 | 0:01:18 | |
THEY ALL SHOUT Yes! | 0:01:18 | 0:01:20 | |
The hundreds of people that are streaming into the Market Hall | 0:01:20 | 0:01:24 | |
will all have their items valued by our team of experts, | 0:01:24 | 0:01:26 | |
who are led today by James Lewis, who's attracted to a bit of metal. | 0:01:26 | 0:01:30 | |
Surprisingly, under that soft exterior | 0:01:30 | 0:01:33 | |
beats the heart of a heavy-metal fan. | 0:01:33 | 0:01:36 | |
All the plate's come off, hasn't it? | 0:01:36 | 0:01:38 | |
Imagine what it would have been like! | 0:01:38 | 0:01:40 | |
He's joined on the tables by Adam Partridge, | 0:01:40 | 0:01:43 | |
whose musical tastes are a bit different. | 0:01:43 | 0:01:45 | |
Those are quite nice things to own, | 0:01:45 | 0:01:47 | |
but don't let anyone catch you framing them! | 0:01:47 | 0:01:49 | |
He used to be a professional violin player. | 0:01:49 | 0:01:52 | |
Everyone knows now! | 0:01:52 | 0:01:55 | |
We've got a great show for you today. | 0:01:55 | 0:01:57 | |
James makes an interesting discovery... | 0:01:57 | 0:01:59 | |
This is gruesome, isn't it? | 0:01:59 | 0:02:01 | |
When you stab somebody, | 0:02:01 | 0:02:03 | |
it's easier to draw the blade out again. | 0:02:03 | 0:02:05 | |
That's why they're made. | 0:02:05 | 0:02:07 | |
..while Adam is predicting great things. | 0:02:07 | 0:02:10 | |
I think we'll sell it, and I'm going to be bullish | 0:02:10 | 0:02:12 | |
and say it should be worth the four figures that you're hoping for. | 0:02:12 | 0:02:16 | |
And I tread the boards in one of the most intact Georgian theatres in the world. | 0:02:16 | 0:02:21 | |
Romeo, Romeo, wherefore art thou Romeo? | 0:02:21 | 0:02:25 | |
Here I am! | 0:02:25 | 0:02:27 | |
As you can see, we've got a full house, which means lots of antiques. | 0:02:28 | 0:02:32 | |
We really do have our work cut out, so let's get on with it. | 0:02:32 | 0:02:35 | |
Adam Partridge is at the tables. Let's take a closer look at what he's found. | 0:02:35 | 0:02:39 | |
-Janet and David... David and Janet. -Yes! | 0:02:39 | 0:02:43 | |
Hello. Welcome to "Flog It!". Thanks for coming along. | 0:02:43 | 0:02:46 | |
This piece needs no introduction. | 0:02:46 | 0:02:48 | |
I'm sure everybody knows what that is. | 0:02:48 | 0:02:50 | |
It's the very distinctive shape and design of the Moorcroft Pottery. | 0:02:50 | 0:02:54 | |
How have you come to own this one? | 0:02:54 | 0:02:57 | |
I bought it in a little antique place | 0:02:57 | 0:03:00 | |
within a big department store in Newcastle | 0:03:00 | 0:03:03 | |
-about 25, 26 years ago. -OK! | 0:03:03 | 0:03:06 | |
I just passed by. The colours caught my eye. | 0:03:06 | 0:03:08 | |
-I thought, "That's pretty." -Do you remember how much it was 25 years ago? | 0:03:08 | 0:03:12 | |
-£6. -It's probably 50 quid now. | 0:03:12 | 0:03:14 | |
-Yeah? -Maybe. | 0:03:14 | 0:03:16 | |
-Yes. -Getting on for £50 now. So, why are you selling it? | 0:03:16 | 0:03:19 | |
-It doesn't take up much room. -Not at all. | 0:03:19 | 0:03:22 | |
We didn't know for ten years that it was Moorcroft | 0:03:22 | 0:03:25 | |
-or anything important. -Or the significance of... | 0:03:25 | 0:03:28 | |
But as soon as I found out the significance of it, | 0:03:28 | 0:03:31 | |
I thought, "Somebody's going to drop it and break it," | 0:03:31 | 0:03:34 | |
-and I nearly did, once or twice. -Oh, really? -Yeah. | 0:03:34 | 0:03:37 | |
-So it's had a couple of lives... -When we first got it, | 0:03:37 | 0:03:40 | |
I used to let my kids fill it with water and paint with it. | 0:03:40 | 0:03:44 | |
-So it could easily have not survived. -I don't know how - | 0:03:44 | 0:03:47 | |
Any idea what it's worth now? | 0:03:47 | 0:03:49 | |
I'd like to think it was over £100. | 0:03:49 | 0:03:52 | |
I agree. I agree. | 0:03:52 | 0:03:54 | |
I'd say an estimate of 100, 150 would be about right, | 0:03:54 | 0:03:57 | |
would be a realistic guide. I'd like to think it'd make 150, | 0:03:57 | 0:04:00 | |
-because, of course, small is beautiful. -Yes. | 0:04:00 | 0:04:04 | |
-THEY LAUGH -I'm not tall myself. | 0:04:04 | 0:04:07 | |
In collector's terms, also, the smaller the piece of furniture, | 0:04:07 | 0:04:12 | |
the miniature vases, | 0:04:12 | 0:04:14 | |
make often much more than their great big counterparts. | 0:04:14 | 0:04:17 | |
So, um, a reserve of 100 - would that sound... | 0:04:17 | 0:04:20 | |
Excellent. Yes. Fine. | 0:04:20 | 0:04:21 | |
And Moorcroft, it doesn't really need... It sells itself. | 0:04:21 | 0:04:26 | |
-Anyone can sell Moorcroft. Have you done any auctioneering? -No. | 0:04:26 | 0:04:29 | |
If you were to start, that would be a good thing to try on, | 0:04:29 | 0:04:32 | |
-because there'd be hands everywhere. -That would be nice. | 0:04:32 | 0:04:35 | |
It's the leaf-and-berry pattern, by the way, | 0:04:35 | 0:04:38 | |
which dates to the late 1930s, | 0:04:38 | 0:04:41 | |
and that "Potter to HM the Queen" confirms that date. | 0:04:41 | 0:04:44 | |
-Yes. -That confirms what you knew. | 0:04:44 | 0:04:46 | |
It would be a little bit more if it was under a flambe glaze. | 0:04:46 | 0:04:50 | |
It would be maybe 200 or 300. I hope it goes to a new home, | 0:04:50 | 0:04:53 | |
-and goes very well. -I hope so. | 0:04:53 | 0:04:55 | |
Would you reinvest in antiques? | 0:04:55 | 0:04:58 | |
I've often wanted to go down to the pottery that does it now. | 0:04:58 | 0:05:02 | |
-To the Moorcroft potteries? -Yeah. -It's quite near me, | 0:05:02 | 0:05:05 | |
-so let me know if you're coming. I'll take you out to tea. -Thanks! | 0:05:05 | 0:05:08 | |
Well, that's an invite that would be hard to refuse. | 0:05:08 | 0:05:11 | |
I love having a rummage, because you never know what you might find! | 0:05:11 | 0:05:14 | |
Some pot lids. Oh, look at these! | 0:05:14 | 0:05:17 | |
-Do you collect pot lids? -I do, yes. | 0:05:19 | 0:05:21 | |
-How many have you got? -About 85. | 0:05:21 | 0:05:24 | |
85? You're bonkers about pot lids, then. | 0:05:24 | 0:05:27 | |
I was bonkers, but I've been going now for about 15 years. | 0:05:27 | 0:05:30 | |
-We're downsizing a bit, so... -They've got to go. -Some of them. | 0:05:30 | 0:05:33 | |
Why are you downsizing? I'm just being nosy, but - | 0:05:33 | 0:05:36 | |
We've redecorated throughout because we're retired, | 0:05:36 | 0:05:39 | |
and we want to make things easier. Everything came off the wall. | 0:05:39 | 0:05:43 | |
I had them on every wall of the lounge. | 0:05:43 | 0:05:45 | |
-So now the walls are bare. -Yes! | 0:05:45 | 0:05:47 | |
-What's going back on them? -Not a lot. | 0:05:47 | 0:05:49 | |
Not a lot at all. | 0:05:49 | 0:05:51 | |
Good luck. I know there's plenty of collectors | 0:05:51 | 0:05:54 | |
that will want this kind of thing. | 0:05:54 | 0:05:56 | |
We've seen them do really well on the show before, | 0:05:56 | 0:05:59 | |
and it's nice that that's just a set of four rather than your 80 at once! | 0:05:59 | 0:06:02 | |
It's amazing how well made everyday items have become collectible | 0:06:04 | 0:06:08 | |
and valuable! The solid-silver cutlery set Sue has brought in | 0:06:08 | 0:06:11 | |
is another classic example of that. | 0:06:11 | 0:06:14 | |
Sue, were you born with one of these in your mouth? | 0:06:15 | 0:06:18 | |
No, not at all! | 0:06:18 | 0:06:19 | |
-No? -No. It's quite funny, actually. | 0:06:19 | 0:06:22 | |
I got them when I bought my first house, | 0:06:22 | 0:06:24 | |
and a friend of my father's said, "Would this help Sue out?" | 0:06:24 | 0:06:27 | |
because I got the house but nothing to put in it. | 0:06:27 | 0:06:30 | |
So, your first-ever home, and there you are with solid silver. | 0:06:30 | 0:06:34 | |
-Can't be bad. -I know! Probably worth more than the house. | 0:06:34 | 0:06:38 | |
Let's have a look. These are a pattern | 0:06:38 | 0:06:41 | |
that's known as Old English pattern. It's just a rounded end, | 0:06:41 | 0:06:44 | |
very, very plain, with a down-swept terminal to the end. | 0:06:44 | 0:06:49 | |
In the 17th century, you'd have a dog-nose, then a trefid | 0:06:49 | 0:06:52 | |
that's split into three, then a Hanoverian pattern, | 0:06:52 | 0:06:55 | |
and then this Old English pattern really came into fashion | 0:06:55 | 0:06:59 | |
around 1750, 1760. | 0:06:59 | 0:07:01 | |
This example was made a hundred years later... | 0:07:01 | 0:07:04 | |
..in 1896, 1897. | 0:07:05 | 0:07:08 | |
We've got the anchor, we've got the lion, | 0:07:08 | 0:07:11 | |
and we've got the date letter - | 0:07:11 | 0:07:13 | |
the lion meaning it's Sterling-standard silver, | 0:07:13 | 0:07:16 | |
the anchor which means it was assayed in Birmingham, | 0:07:16 | 0:07:19 | |
-and the date letter for 1886/7. -Right. | 0:07:19 | 0:07:22 | |
Then we've got "E & Co Ltd" - Elkington & Co. | 0:07:22 | 0:07:26 | |
Elkington & Co, one of the most famous silversmiths of all time, | 0:07:26 | 0:07:30 | |
-makers for the Queen in the 19th century. -Oh! | 0:07:30 | 0:07:33 | |
Very good quality. We've got five teaspoons. | 0:07:33 | 0:07:37 | |
They're worth about £2 each. | 0:07:37 | 0:07:39 | |
-Really? -That's all. | 0:07:39 | 0:07:42 | |
-£2 or £3 each. -I'm really disappointed! | 0:07:42 | 0:07:44 | |
So let's forget the teaspoons. This is where the real value is. | 0:07:44 | 0:07:48 | |
Dessert forks like that, a set of six... | 0:07:48 | 0:07:52 | |
The tines aren't quite level. | 0:07:52 | 0:07:54 | |
When you're looking at forks, the tines should be level at the top. | 0:07:56 | 0:07:59 | |
-These have had a bit of wear. -Chased some peas round. | 0:07:59 | 0:08:03 | |
-They have. -Exactly. | 0:08:03 | 0:08:05 | |
A set of six of those are going to be worth £60 to £100. | 0:08:05 | 0:08:08 | |
-Excellent. -A set of six dessert spoons | 0:08:08 | 0:08:10 | |
will be worth about the same. £60 to £100. | 0:08:10 | 0:08:13 | |
We've got 60, we've got 60, | 0:08:13 | 0:08:16 | |
we've got 20. £140, lower end. | 0:08:16 | 0:08:19 | |
-So if we put 150 to 200 on them... -Lovely. -Is that all right for you? | 0:08:19 | 0:08:23 | |
Very nice. And what do you think... Because of the make, | 0:08:23 | 0:08:26 | |
will they be melted down, | 0:08:26 | 0:08:28 | |
or are they likely to be bought to be used? | 0:08:28 | 0:08:30 | |
They will be probably melted down. | 0:08:30 | 0:08:32 | |
Right. OK. It's a shame, isn't it? | 0:08:32 | 0:08:35 | |
I hate to think of them going down that road. | 0:08:35 | 0:08:37 | |
But then again, you know, they're early, | 0:08:37 | 0:08:40 | |
-but... -Not that special. -They're not that special. -No. | 0:08:40 | 0:08:43 | |
Like I always say, antiques are the ultimate recyclables, | 0:08:43 | 0:08:47 | |
and although it's sad for Sue to think they'll be melted down, | 0:08:47 | 0:08:50 | |
at least they'll go on to make something else. | 0:08:50 | 0:08:52 | |
'I've been investing in a bit of precious metal myself.' | 0:08:52 | 0:08:55 | |
I've got a flashy silver pen now, and it shows up on my photograph. | 0:08:55 | 0:09:00 | |
-HE LAUGHS -Thank you. | 0:09:00 | 0:09:02 | |
-Thank you very much. -Thank you. -That's come in quite useful. | 0:09:02 | 0:09:05 | |
We've got all different-size valuation tables on "Flog It!", | 0:09:05 | 0:09:09 | |
but sometimes people bring their own in, | 0:09:09 | 0:09:11 | |
although this beautiful little table is gracefully hiding its real use. | 0:09:11 | 0:09:15 | |
We're not often lucky enough to see furniture, | 0:09:15 | 0:09:18 | |
especially not such a nice object as this. | 0:09:18 | 0:09:20 | |
-How did it come to be yours? -It was my grandmother's. -Right. | 0:09:20 | 0:09:23 | |
And on my father's death ten years ago, it passed to me. | 0:09:23 | 0:09:27 | |
-You've always known this piece. -Since I was a toddler. | 0:09:27 | 0:09:30 | |
That's lovely, isn't it? And what's made you decide to sell it now? | 0:09:30 | 0:09:34 | |
I think living in a modern house. | 0:09:34 | 0:09:37 | |
It takes up quite a bit of room in our house. | 0:09:37 | 0:09:40 | |
-It's a bit incongruous with the rest of the furniture. -Yeah. | 0:09:40 | 0:09:44 | |
Yes, we've loved it, but perhaps it is time to pass it on, | 0:09:44 | 0:09:47 | |
let somebody else perhaps appreciate it as well. | 0:09:47 | 0:09:50 | |
Some people watching will be thinking, it's only half my size. | 0:09:50 | 0:09:53 | |
"What's he talking about, it's too big?" | 0:09:53 | 0:09:55 | |
-I know what you mean. It's not the most practical thing. -No. | 0:09:55 | 0:09:58 | |
Very decorative, and it's in satinwood. | 0:09:58 | 0:10:01 | |
-Satinwood, yes. -I would date that to the William IV period, | 0:10:01 | 0:10:04 | |
1835 or thereabouts. | 0:10:04 | 0:10:06 | |
This carving on the columns is typical of the William IV period. | 0:10:06 | 0:10:10 | |
And this is an elaborate teapoy, tea caddy, on a stand. | 0:10:10 | 0:10:14 | |
Oh, there we are. | 0:10:14 | 0:10:16 | |
And it's a beautiful satinwood interior, | 0:10:16 | 0:10:19 | |
and it's in really, really lovely condition. | 0:10:19 | 0:10:22 | |
-Beautiful smooth wood, isn't it? -It really is. | 0:10:22 | 0:10:24 | |
And these lift out, and they're wonderfully made, | 0:10:24 | 0:10:28 | |
mahogany and then satinwood. | 0:10:28 | 0:10:31 | |
Just lovely things in their own right, aren't they? | 0:10:31 | 0:10:34 | |
-They are. -These are the original bowls, | 0:10:34 | 0:10:37 | |
because there's no give there. They're well fitted. | 0:10:37 | 0:10:40 | |
And it's an object of real quality. | 0:10:40 | 0:10:43 | |
You see the thickness of the brass hinges, | 0:10:43 | 0:10:46 | |
and this Bramah patent lock - things that was put on furniture | 0:10:46 | 0:10:49 | |
of high quality. It's a dual-lock mecha-... | 0:10:49 | 0:10:52 | |
-I don't suppose you've got keys. -We have no key, no. | 0:10:52 | 0:10:56 | |
It's a complicated lock, but it's a sign of great quality, | 0:10:56 | 0:10:59 | |
and, of course, tea was a valuable commodity in the 19th century. | 0:10:59 | 0:11:02 | |
-Keep the servants out! -That's right! Lock the servants out, | 0:11:02 | 0:11:06 | |
and keep your green and black tea separate. | 0:11:06 | 0:11:09 | |
Tea isn't such a valuable commodity nowadays. | 0:11:09 | 0:11:12 | |
It's a bag of dust in a mug now, isn't it? | 0:11:12 | 0:11:14 | |
But the teapoy is still quite a commercial piece of furniture. | 0:11:14 | 0:11:18 | |
You told me you wanted £1,000, really. | 0:11:18 | 0:11:20 | |
-Is that right? -It was in my head. | 0:11:20 | 0:11:23 | |
-Yeah. So we're going to go with a reserve of £800. -Yes. | 0:11:23 | 0:11:27 | |
-Is that happy with you? -I'm happy with that. | 0:11:27 | 0:11:29 | |
If we put an estimate of 800 to 1,200, | 0:11:29 | 0:11:31 | |
when we go to the auction, the auctioneer might say, | 0:11:31 | 0:11:35 | |
"You're quoting us ten-years-ago prices," | 0:11:35 | 0:11:38 | |
but I think we'll sell it. We'll be all right. | 0:11:38 | 0:11:40 | |
I'm going to be bullish and say it really should be worth the four figures you're hoping for. | 0:11:40 | 0:11:45 | |
If it doesn't make £800, it's not worth you selling it. | 0:11:45 | 0:11:48 | |
-No. No. -So it's a good test of the market here. | 0:11:48 | 0:11:52 | |
And we're going to find out exactly what the market thinks, as we're about to up the tempo! | 0:11:52 | 0:11:57 | |
We've been working flat out. Let's put those valuations to the test | 0:11:57 | 0:12:00 | |
in the auction room. Catch you there. | 0:12:00 | 0:12:02 | |
Going under the hammer with Graham's stunning teapoy are Dave and Janet's miniature Moorcroft vase, | 0:12:08 | 0:12:13 | |
which they're afraid they might break if they keep it, | 0:12:13 | 0:12:17 | |
and Sue's silver cutlery, which was a very welcome housewarming present. | 0:12:17 | 0:12:21 | |
Today we're the guests of Thomas Watson Auctioneers in the heart of Darlington. | 0:12:22 | 0:12:26 | |
Now, I've been to hundreds of auctions in my time, | 0:12:26 | 0:12:29 | |
and there's always a guaranteed surprise. | 0:12:29 | 0:12:31 | |
Today I'm pretty sure we'll have one or two. Keep watching, | 0:12:31 | 0:12:35 | |
because someone's going home with a lot of money. I don't know who, | 0:12:35 | 0:12:38 | |
but you've heard our experts. Let's catch up with today's auctioneer, and see what he's got to say. | 0:12:38 | 0:12:44 | |
Commission is standard in all salerooms, | 0:12:45 | 0:12:47 | |
but the amount can vary, so check the auction catalogue | 0:12:47 | 0:12:50 | |
to see what it will cost you to buy and sell. | 0:12:50 | 0:12:53 | |
Here at Thomas Watson Auctioneers, you pay a buyer's premium, | 0:12:53 | 0:12:56 | |
which is commission at 15 percent plus VAT. | 0:12:56 | 0:12:59 | |
'Auctioneer Peter Robinson has a different idea | 0:13:01 | 0:13:03 | |
'about how much the teapoy could sell for - | 0:13:03 | 0:13:06 | |
'but is it higher or lower?' | 0:13:06 | 0:13:08 | |
-It's in the satinwood. -It is, which is super. | 0:13:08 | 0:13:11 | |
-I mean, look at the workmanship. -Look at the grain! | 0:13:11 | 0:13:14 | |
-Look at that figuring! -The caddies, original bowls, | 0:13:14 | 0:13:17 | |
the carving to the base... It's got all the credentials. | 0:13:17 | 0:13:20 | |
My worry is the market that we have today. | 0:13:20 | 0:13:23 | |
Ironically, if it was just the box, just the caddy top, | 0:13:23 | 0:13:27 | |
it probably would be better received, | 0:13:27 | 0:13:29 | |
because boxes are selling like wildfire. | 0:13:29 | 0:13:32 | |
It's a funny piece of furniture to have in a room, a teapoy. | 0:13:32 | 0:13:35 | |
It is. It has no usefulness to it at all. | 0:13:35 | 0:13:38 | |
It's purely ornamental. If you've got somewhere a corner | 0:13:38 | 0:13:42 | |
that you want a pretty piece of furniture, it's ideal, | 0:13:42 | 0:13:45 | |
but, at the end of the day, it's people bidding. | 0:13:45 | 0:13:48 | |
The fitted interior is wonderful. When you look at that, | 0:13:48 | 0:13:51 | |
you can see it's definitely worth £1,000. | 0:13:51 | 0:13:54 | |
Absolutely. There's a lot for your money. | 0:13:54 | 0:13:56 | |
To ask a cabinet-maker to make this today, | 0:13:56 | 0:13:59 | |
he would want probably £5,000 minimum, | 0:13:59 | 0:14:02 | |
so it should sell, but we are governed by the marketplace | 0:14:02 | 0:14:06 | |
and what people will buy. | 0:14:06 | 0:14:08 | |
Well, the good thing about this is, you can't pick any faults. | 0:14:08 | 0:14:11 | |
There's nothing wrong with it. Collectors are a picky bunch, | 0:14:11 | 0:14:15 | |
but they'll appreciate the quality here, | 0:14:15 | 0:14:18 | |
and we'll get this one away. Fingers crossed! | 0:14:18 | 0:14:22 | |
Everyone agrees that it's a very classy piece, | 0:14:22 | 0:14:24 | |
and we'll find out very soon whether the bidders agree. | 0:14:24 | 0:14:27 | |
But first up is the Moorcroft vase. | 0:14:27 | 0:14:30 | |
Why are you selling it? | 0:14:32 | 0:14:34 | |
Because we're downsizing, going to sell the house. | 0:14:34 | 0:14:37 | |
-I know it's small - -They all say that, don't they? | 0:14:37 | 0:14:40 | |
Yeah. Remember the lady with the thimble? | 0:14:40 | 0:14:42 | |
Yeah, or a little picture, a miniature. | 0:14:42 | 0:14:45 | |
-"Oh, I'm downsizing." -Every little helps. | 0:14:45 | 0:14:47 | |
When you pick it up and dust it, I keep thinking, | 0:14:47 | 0:14:50 | |
"I'm going to break this. I'm going to break this." | 0:14:50 | 0:14:52 | |
-We've had it for 25 years. -Yeah. -Well, good luck, is all I can say. | 0:14:52 | 0:14:57 | |
Moorcroft is big business. They're still making it today. | 0:14:57 | 0:15:00 | |
-Yes. -Collectors all over the world are buying. -They love it. | 0:15:00 | 0:15:03 | |
Let's hope they're here today. OK? Good luck, everyone. Here we go. | 0:15:03 | 0:15:08 | |
Nice little piece of Moorcroft, | 0:15:08 | 0:15:11 | |
and I'll have £50 to start me. At £50 for it. | 0:15:11 | 0:15:14 | |
At £50. 60, second row. 70 in the left. | 0:15:14 | 0:15:17 | |
80, 90. | 0:15:17 | 0:15:18 | |
100? £90 on my left now. | 0:15:18 | 0:15:21 | |
-£90 for the lot now. It's at 100 now. 100 I'm bid. -Good. | 0:15:21 | 0:15:24 | |
Everywhere you go. | 0:15:24 | 0:15:26 | |
130. £120 I'm bid now. | 0:15:26 | 0:15:29 | |
£120. Are you all finished? £130, then, bid. | 0:15:29 | 0:15:32 | |
It's always a sure thing with the Moorcroft. | 0:15:32 | 0:15:35 | |
It's on my left. At £130 bid. Being sold now to my left at £130. | 0:15:35 | 0:15:39 | |
-That's good, isn't it? £130. -It is. | 0:15:39 | 0:15:42 | |
-That's fine. -Decent profit. -That's what it's all about. | 0:15:42 | 0:15:45 | |
Thanks for coming. I hope you find a new receptacle for your paintbrush. | 0:15:45 | 0:15:49 | |
I don't want the grandchildren to get a hold of it! | 0:15:49 | 0:15:52 | |
Not surprisingly, the Moorcroft collectors have put their money where their mouths are. | 0:15:52 | 0:15:56 | |
But will the silver spoons have their fans, as well? | 0:15:56 | 0:15:59 | |
Now, these were really kind of a housewarming present, weren't they? | 0:15:59 | 0:16:03 | |
They were, yes, for my first house, | 0:16:03 | 0:16:05 | |
and I didn't have any furniture, | 0:16:05 | 0:16:08 | |
but a friend of my father's thought these might come in helpful! | 0:16:08 | 0:16:11 | |
-THEY LAUGH -A collection of silver! | 0:16:11 | 0:16:13 | |
Well, you've got to start somewhere. And you obviously used them. | 0:16:13 | 0:16:17 | |
-No. -Oh, you didn't? -No. No, we haven't, | 0:16:17 | 0:16:21 | |
and it's not straightforward dishwasher stuff. | 0:16:21 | 0:16:23 | |
No, but you could just wash them under a bit of warm, soapy water. | 0:16:23 | 0:16:27 | |
-Yes. -It's not that hard work, is it, really? | 0:16:27 | 0:16:30 | |
We don't all have servants to do it for us, Paul. | 0:16:30 | 0:16:33 | |
I do it myself. Look, it's a great time to sell silver, anyway, | 0:16:33 | 0:16:37 | |
so let's see what the bidders think. Here we go. | 0:16:37 | 0:16:40 | |
The collection of cutlery. £100 bid for the cutlery. | 0:16:40 | 0:16:44 | |
At £100. At £100. | 0:16:44 | 0:16:45 | |
Come on. Where are all the hands? | 0:16:45 | 0:16:48 | |
130, 140, 150, 160, 170. | 0:16:48 | 0:16:51 | |
175? 180. | 0:16:51 | 0:16:54 | |
190? 180 with me, the bid. | 0:16:54 | 0:16:56 | |
At £180. 190, then, on my right now. | 0:16:56 | 0:16:59 | |
At £190. Selling on my right at £190. | 0:16:59 | 0:17:03 | |
-All finished now at 190 for the lot? -HE BANGS HAMMER | 0:17:03 | 0:17:05 | |
-Hammer's gone down. That was good. -Brilliant. -£190. -Brilliant. | 0:17:05 | 0:17:09 | |
So, are you going to buy something for the house? | 0:17:09 | 0:17:11 | |
Er, possibly use it for spending money on holiday. | 0:17:11 | 0:17:14 | |
-We're going to Northern Cyprus. -Oh, lovely! -Northern Cyprus! | 0:17:14 | 0:17:17 | |
-So, lots of ice creams. -Baklava! -Yes! | 0:17:17 | 0:17:20 | |
That's a great result for Sue, and a spot-on estimate for James. | 0:17:20 | 0:17:24 | |
Next up is the teapoy that everybody has fallen in love with. | 0:17:24 | 0:17:27 | |
I really hope it reaches its full potential! | 0:17:27 | 0:17:30 | |
Your grandmother really looked after this. | 0:17:30 | 0:17:32 | |
-She did. -The condition! There's not one stain or chip on this. | 0:17:32 | 0:17:36 | |
-You've looked after it, as well. -We have. | 0:17:36 | 0:17:38 | |
This is wonderful. I know you fell in love with this, as well. | 0:17:38 | 0:17:42 | |
It's got the quality of Gillow's about the workmanship. | 0:17:42 | 0:17:45 | |
It's just splendid. If it doesn't sell, it's a travesty. | 0:17:45 | 0:17:48 | |
Had a chat to the auctioneer. | 0:17:48 | 0:17:50 | |
He said it's not a popular piece of kit. | 0:17:50 | 0:17:53 | |
If it was a tea caddy, people would want to own it, | 0:17:53 | 0:17:55 | |
but as a teapoy, it's a free-standing piece of furniture. | 0:17:55 | 0:17:58 | |
-What do you do with it? -But you could say that with lots of things. | 0:17:58 | 0:18:02 | |
-Course you could. -It should make four figures, | 0:18:02 | 0:18:04 | |
but it's an uncertain market these days. | 0:18:04 | 0:18:06 | |
We're putting it to the test. That's what this is all about. | 0:18:06 | 0:18:10 | |
Let's find out what the bidders think. | 0:18:10 | 0:18:13 | |
At £600. | 0:18:13 | 0:18:15 | |
At £600. At £600 with the teapoy. | 0:18:15 | 0:18:18 | |
650, can I say? | 0:18:18 | 0:18:20 | |
-At £600. -Not exactly flying away, is it? | 0:18:20 | 0:18:24 | |
650. 80. 700. | 0:18:24 | 0:18:25 | |
At £700. At £700. | 0:18:25 | 0:18:28 | |
720? At £700. No further bidding? | 0:18:28 | 0:18:32 | |
-Looks like it's going home. -At £700, short of the reserve. | 0:18:32 | 0:18:35 | |
At £700. All finished, then, at £700. | 0:18:35 | 0:18:39 | |
Sorry. Unsold. | 0:18:39 | 0:18:41 | |
-Unsold. -It's going home. -I'm not too disappointed. | 0:18:41 | 0:18:44 | |
-No. You've got a lovely spot for it at home. -Absolutely. | 0:18:44 | 0:18:47 | |
-Enjoy looking at it, as well... -Yeah. | 0:18:47 | 0:18:49 | |
..just musing over the little hinges and the dovetails. | 0:18:49 | 0:18:53 | |
-It's, um... -No. -Well, thank you anyway. | 0:18:53 | 0:18:55 | |
It's a luxury item, and it's a joy to behold and have. | 0:18:55 | 0:18:59 | |
Well, Adam did say that if it didn't sell at the reserve of £800, | 0:18:59 | 0:19:03 | |
Graham should take it home, and I for one would be ecstatic | 0:19:03 | 0:19:05 | |
to have it in my house. | 0:19:05 | 0:19:08 | |
If you want to sell furniture, bring it along to one of our valuation days. | 0:19:08 | 0:19:12 | |
You can pick up details on our BBC website. Just log on to... | 0:19:12 | 0:19:15 | |
All the information will be there, and hopefully we'll be near a town | 0:19:17 | 0:19:21 | |
very close to you soon, so come and join us. | 0:19:21 | 0:19:24 | |
While I've been in Richmond, I had a look at a local treasure | 0:19:28 | 0:19:31 | |
just down the road from the Market Hall. | 0:19:31 | 0:19:34 | |
I've come to the centre of Richmond to visit a building | 0:19:37 | 0:19:40 | |
that holds a very important place in history | 0:19:40 | 0:19:42 | |
and in the hearts of all the local people here. | 0:19:42 | 0:19:44 | |
And it's this very building - the Georgian Theatre Royal. | 0:19:44 | 0:19:48 | |
OK, it looks unassuming on this road right here | 0:19:48 | 0:19:51 | |
with these cars going by, but it is a Grade I listed building, | 0:19:51 | 0:19:55 | |
and it also has a very important claim to fame. | 0:19:55 | 0:19:58 | |
It's the oldest and most complete Georgian playhouse in Britain, | 0:19:58 | 0:20:02 | |
and that's a fact. All the good stuff is on the inside, | 0:20:02 | 0:20:05 | |
so without further ado, let's go in and view the piece de resistance. | 0:20:05 | 0:20:09 | |
In the early 1700s, there weren't any theatres in Britain, | 0:20:12 | 0:20:15 | |
as it was illegal to act for money. | 0:20:15 | 0:20:17 | |
However, plays were performed by travelling companies of actors, | 0:20:17 | 0:20:21 | |
who found ways around the law. From the 1760s, | 0:20:21 | 0:20:25 | |
royal patents were granted to a few leading provincial theatres. | 0:20:25 | 0:20:28 | |
But the biggest change came in 1788 | 0:20:28 | 0:20:31 | |
with the passing of the Theatre Licensing Act, | 0:20:31 | 0:20:34 | |
which allowed companies of actors to apply for licences | 0:20:34 | 0:20:37 | |
to put on classical plays for 60 days at any one time. | 0:20:37 | 0:20:41 | |
It was shortly after the Theatre Licensing Act | 0:20:43 | 0:20:46 | |
that a remarkable Yorkshireman called Samuel Butler | 0:20:46 | 0:20:49 | |
signed a 21-year lease with the Richmond Corporation. | 0:20:49 | 0:20:52 | |
And on 2nd September, in 1788, | 0:20:52 | 0:20:55 | |
this remarkable, unique little theatre was opened to the public. | 0:20:55 | 0:20:59 | |
And isn't it just marvellous? | 0:20:59 | 0:21:02 | |
It really is! | 0:21:02 | 0:21:04 | |
It's so tiny, though, but it's just fabulous! | 0:21:04 | 0:21:08 | |
When it first opened, this venue was simply named the Theatre. | 0:21:08 | 0:21:12 | |
And Butler's company of actors played not only here | 0:21:12 | 0:21:15 | |
but at seven other theatres that the entrepreneurial Butler had established across Yorkshire. | 0:21:15 | 0:21:21 | |
Sadly, in 1830, the lease on this building was never renewed. | 0:21:21 | 0:21:25 | |
The theatre and the Butler company parted ways. | 0:21:25 | 0:21:28 | |
Over the following centuries, a few odd performances were played out | 0:21:28 | 0:21:32 | |
on this very stage. But in general, the theatre was put to different uses. | 0:21:32 | 0:21:37 | |
It became a wine vault. During the Second World War, | 0:21:37 | 0:21:40 | |
it was a storage depot, and believe it or not, | 0:21:40 | 0:21:42 | |
it was even an auction room. | 0:21:42 | 0:21:44 | |
But thankfully the core, the fabric of this very building | 0:21:44 | 0:21:47 | |
was never altered greatly. That's why it's become so important | 0:21:47 | 0:21:51 | |
to theatre historians all over the world - | 0:21:51 | 0:21:53 | |
it's the best surviving example of a Georgian playhouse in Britain, | 0:21:53 | 0:21:58 | |
and it's an absolute architectural delight. | 0:21:58 | 0:22:01 | |
The dilapidated theatre has been firstly restored in the 1950s, | 0:22:02 | 0:22:06 | |
and then again in 2003. On both occasions, | 0:22:06 | 0:22:09 | |
restoration was undertaken carefully and sympathetically, | 0:22:09 | 0:22:13 | |
so that the theatre appears much the same as it would have been | 0:22:13 | 0:22:17 | |
when the Butler company were performing all those years ago. | 0:22:17 | 0:22:21 | |
It's known as the Courtyard Theatre, | 0:22:23 | 0:22:25 | |
because it mimics the space you'd find behind a public house, | 0:22:25 | 0:22:29 | |
which is where the touring troupes of actors would have played | 0:22:29 | 0:22:32 | |
before theatres were even built, and this theme carries on to the ceiling. | 0:22:32 | 0:22:36 | |
If you look up there, you can see fluffy white clouds | 0:22:36 | 0:22:39 | |
blowing along in the breeze, mimicking the open-air space | 0:22:39 | 0:22:42 | |
that the plays were watched in. | 0:22:42 | 0:22:44 | |
The stage itself is typical of the period, | 0:22:45 | 0:22:48 | |
and is known as a proscenium arch, acting as a window to the action. | 0:22:48 | 0:22:54 | |
The stage is raked, and it's a foot higher at the back | 0:22:54 | 0:22:57 | |
than at the front, in order to give the audience a better view. | 0:22:57 | 0:23:00 | |
Today, the Georgian Theatre Royal can seat up to 214 people, | 0:23:01 | 0:23:06 | |
but back in the Georgian era, 400 eager audience members would have squeezed in. | 0:23:06 | 0:23:12 | |
You can imagine how lots more people were jammed in this small space together. | 0:23:12 | 0:23:16 | |
But which were the good seats and which were the bad? | 0:23:16 | 0:23:20 | |
Up here is called the gallery, and these are the cheap seats, | 0:23:20 | 0:23:24 | |
used by the young and the dissolute. To watch performance here | 0:23:24 | 0:23:28 | |
back in the Georgian period would have cost you one shilling. | 0:23:28 | 0:23:32 | |
-BANGING -Did you hear that? | 0:23:32 | 0:23:33 | |
Don't worry - that was me. | 0:23:33 | 0:23:35 | |
This gallery has a unique Georgian feature. | 0:23:35 | 0:23:38 | |
It's known as the kicking board, | 0:23:38 | 0:23:40 | |
and that's exactly what you do to it. | 0:23:40 | 0:23:42 | |
The Georgian patrons would have used this to show signs of disapproval | 0:23:44 | 0:23:48 | |
if the act wasn't working out properly. | 0:23:48 | 0:23:50 | |
I've been told it's still used today, | 0:23:50 | 0:23:52 | |
but only as a sign of approval, to encourage an encore. | 0:23:52 | 0:23:57 | |
-HE KICKS BOARD -Yeah! More, please! More! | 0:23:57 | 0:24:00 | |
I say, who's that talented chap down there? | 0:24:00 | 0:24:03 | |
This whole area is known as the pit. | 0:24:03 | 0:24:06 | |
It's more expensive than the gallery. | 0:24:06 | 0:24:08 | |
Theatregoers would pay two shillings to watch a performance here | 0:24:08 | 0:24:11 | |
when the Butler company was in town. | 0:24:11 | 0:24:13 | |
I would have preferred to have sat here, in one of these seats. | 0:24:13 | 0:24:17 | |
They're considered to be the best in the house. | 0:24:17 | 0:24:19 | |
To sit in one of these boxes would have cost you three shillings per person. | 0:24:19 | 0:24:23 | |
In fact, this is the royal box. It's the best seat in the house. | 0:24:23 | 0:24:28 | |
Why? Because it has a direct eye line | 0:24:28 | 0:24:30 | |
with the actors onstage right in front of you. | 0:24:30 | 0:24:33 | |
And up here is another example of a typical Georgian feature. | 0:24:33 | 0:24:37 | |
This is called the Juliet box. It's not for the audience to sit in | 0:24:37 | 0:24:40 | |
and watch the plays. It's for the actors to use for balcony scenes. | 0:24:40 | 0:24:44 | |
Of course, it's named after the most famous heroine of all - | 0:24:44 | 0:24:47 | |
Juliet, from Shakespeare's Romeo And Juliet. | 0:24:47 | 0:24:50 | |
Romeo, Romeo, wherefore art thou Romeo? | 0:24:50 | 0:24:55 | |
Here I am! | 0:24:55 | 0:24:56 | |
'So, that's how the Georgians would have watched theatre, | 0:24:56 | 0:24:59 | |
'but I'm interested in seeing what went on behind the scenes. | 0:24:59 | 0:25:03 | |
'I'm going to tread in the actors' footsteps, as I head down | 0:25:03 | 0:25:06 | |
'through the dressing room to the very guts of the theatre.' | 0:25:06 | 0:25:09 | |
I'm underneath the stage right now. There it is, look - | 0:25:10 | 0:25:13 | |
there above me. This whole area is known as the machine room. | 0:25:13 | 0:25:17 | |
And these are the footlights, or the floats, as they were called | 0:25:17 | 0:25:20 | |
back in the Georgian period. | 0:25:20 | 0:25:22 | |
Now, these candles would have been alight in troughs of water, | 0:25:22 | 0:25:26 | |
and this whole trough would have been winched up | 0:25:26 | 0:25:29 | |
by this winch here, going up to the stage | 0:25:29 | 0:25:31 | |
to project light back onto the actor's faces so you could see them. | 0:25:31 | 0:25:35 | |
They were in water because, if the candles fell over, | 0:25:35 | 0:25:37 | |
it would put the flame out and the whole place wouldn't catch on fire. | 0:25:37 | 0:25:41 | |
Perhaps one of the most exciting parts of the theatre | 0:25:42 | 0:25:46 | |
is operated from right down here, and that's the trapdoors. | 0:25:46 | 0:25:50 | |
Now, this enables items and actors to spring up out of nowhere | 0:25:50 | 0:25:54 | |
onto the stage. There were originally three trapdoors here, | 0:25:54 | 0:25:58 | |
but now there's only one, and this is a reconstruction. | 0:25:58 | 0:26:01 | |
Sadly, it doesn't work, either, so I've got to take the long way back up. | 0:26:01 | 0:26:06 | |
The Georgian Theatre Royal holds such a prestigious place | 0:26:08 | 0:26:13 | |
in the history of theatre in Britain | 0:26:13 | 0:26:15 | |
that many of our country's finest actors feel it's a status symbol | 0:26:15 | 0:26:19 | |
to have played here. Timothy West, Judi Dench, | 0:26:19 | 0:26:22 | |
and plenty of other legendary actors have graced the stage here. | 0:26:22 | 0:26:25 | |
And I have to say, yours truly is very proud | 0:26:25 | 0:26:28 | |
to have been able to visit this fascinating piece of theatre history. | 0:26:28 | 0:26:32 | |
There are still plenty of Yorkshire folk coming to the Market Hall | 0:26:42 | 0:26:46 | |
with their antiques and collectibles, hoping to flog it. | 0:26:46 | 0:26:49 | |
Welcome back to our valuation day in the heart of Richmond. | 0:26:51 | 0:26:54 | |
As you can see, it's still a full house. | 0:26:54 | 0:26:56 | |
Let's catch up with our experts and see what else they've spotted. | 0:26:56 | 0:27:00 | |
James has set his sights on this pair of Derby figurines, | 0:27:01 | 0:27:04 | |
brought in by Harry. | 0:27:04 | 0:27:06 | |
I have to say, I was not expecting to travel | 0:27:06 | 0:27:09 | |
all the way up to Richmond in North Yorkshire | 0:27:09 | 0:27:11 | |
to find two things that were made | 0:27:11 | 0:27:14 | |
about five miles from myself in Derbyshire. | 0:27:14 | 0:27:16 | |
-Isn't it a small world? -Yeah, isn't it just? -Yeah! | 0:27:16 | 0:27:19 | |
The initial Derby factory, right back in the 18th century, | 0:27:19 | 0:27:22 | |
started making figures around 1750, | 0:27:22 | 0:27:25 | |
and if you turned up an early Derby figure, | 0:27:25 | 0:27:28 | |
you would see three little patch marks | 0:27:28 | 0:27:30 | |
that would indicate... Those are the little pads | 0:27:30 | 0:27:33 | |
to stop the figure sticking to the bottom of the kiln. | 0:27:33 | 0:27:36 | |
Today, with the new factory, Royal Crown Derby is a lot easier. | 0:27:36 | 0:27:40 | |
Turn a figure over - there we are, a great big mark | 0:27:40 | 0:27:43 | |
that says "Royal Crown Derby, English Bone China". | 0:27:43 | 0:27:46 | |
Then we have "XLIX". | 0:27:46 | 0:27:48 | |
So that's the Roman figure - "XL", 40, "IX", nine. | 0:27:48 | 0:27:53 | |
49. The first Roman numeral was put on in 1938. | 0:27:53 | 0:27:57 | |
-Oh, right. -So we add 49 to 1938, | 0:27:57 | 0:28:00 | |
we get 1987. | 0:28:00 | 0:28:02 | |
-That's when this figure was made. -Oh! | 0:28:02 | 0:28:05 | |
We've got this canted square base | 0:28:05 | 0:28:07 | |
with a Greek-key decoration around that base, | 0:28:07 | 0:28:10 | |
and that's harking back to an earlier period, | 0:28:10 | 0:28:13 | |
because these figures, allegorical of water, | 0:28:13 | 0:28:15 | |
allegorical of air, are inspired from figures | 0:28:15 | 0:28:18 | |
that were dug up in Herculaneum, Pompeii, Vesuvius. | 0:28:18 | 0:28:22 | |
So these are very much a modern figure, | 0:28:22 | 0:28:26 | |
but with a very traditional past. | 0:28:26 | 0:28:28 | |
So, tell me - why have you got them, how long have you had them, | 0:28:28 | 0:28:32 | |
and what are they doing here at "Flog It!" today? | 0:28:32 | 0:28:35 | |
Well, what I'm trying to do is, I'm trying to sell them | 0:28:36 | 0:28:40 | |
-for the grandchildren. -OK. | 0:28:40 | 0:28:42 | |
-Cos my wife's died, and... -Oh, OK. | 0:28:42 | 0:28:44 | |
And, um, I'm hoping to split the money. | 0:28:44 | 0:28:47 | |
I've got a grandson and a granddaughter. | 0:28:47 | 0:28:50 | |
-OK. -And I'm going to give them half and half. | 0:28:50 | 0:28:53 | |
Lovely. The thing about these is, because they're modern, | 0:28:53 | 0:28:56 | |
and this one's had a, um... | 0:28:56 | 0:28:59 | |
been through the wars a bit... | 0:28:59 | 0:29:01 | |
-It wasn't me! -Are you sure? | 0:29:01 | 0:29:03 | |
HE LAUGHS No, no. | 0:29:03 | 0:29:05 | |
If I'd have fixed that, you'd have noticed. | 0:29:05 | 0:29:08 | |
I would've used a lot of glue. | 0:29:08 | 0:29:10 | |
-Is it your job to do the dusting? -No. I mustn't touch it. -Really? | 0:29:10 | 0:29:14 | |
-No. -What, in case you break them? You might have had two broken ones. | 0:29:14 | 0:29:18 | |
-I'm too clumsy, really. -Oh, well... | 0:29:18 | 0:29:20 | |
Hopefully the auctioneers won't be clumsy, and hopefully they'll do a good job for us. | 0:29:20 | 0:29:25 | |
So I think, auction estimate, £50 to £70. | 0:29:25 | 0:29:29 | |
Almost all the value is in that one, and I'm sure they'll sell. | 0:29:29 | 0:29:33 | |
-Fingers crossed on the day. -I hope so. | 0:29:33 | 0:29:35 | |
'Everyone's got their fingers crossed today, | 0:29:35 | 0:29:38 | |
'hoping they've unearthed a treasure that could be worth a fortune. | 0:29:38 | 0:29:41 | |
'There's still a lot to get through, so we're all working very hard - | 0:29:41 | 0:29:45 | |
'well, perhaps not everyone. | 0:29:45 | 0:29:47 | |
'Adam has found a magnificent bronze statue, brought in by Diane.' | 0:29:47 | 0:29:50 | |
Thank you very much for coming along. | 0:29:50 | 0:29:52 | |
-And do you have a name for this? -We call her Ruth, | 0:29:52 | 0:29:56 | |
because she was my mother's. My mother was called Ruth. | 0:29:56 | 0:29:59 | |
She's a lady gleaning in the fields, so we call her Ruth | 0:29:59 | 0:30:02 | |
-after Ruth and Naomi. -Appropriate on more levels than one! | 0:30:02 | 0:30:06 | |
-So, this was your mother's? -It was, yes. | 0:30:06 | 0:30:09 | |
-Do you know how she came to own it? -My grandmother bought it for her, | 0:30:09 | 0:30:12 | |
-possibly in the late '30s, early '40s. -Right. | 0:30:12 | 0:30:15 | |
-Because of the Ruth... -Because of the Ruth connection. | 0:30:15 | 0:30:18 | |
Excellent. How has she ended up on a table here in Richmond in 2010? | 0:30:18 | 0:30:24 | |
-She's a big girl. -She is a big girl. -She's a heavy girl. | 0:30:24 | 0:30:27 | |
-She's very big and heavy. -I have nowhere to display her now | 0:30:27 | 0:30:30 | |
-to her advantage. -Have you moved house? -Yes. | 0:30:30 | 0:30:33 | |
-Gone into somewhere small. -That's often the problem. | 0:30:33 | 0:30:36 | |
And she does take up a lot of space | 0:30:36 | 0:30:38 | |
because she needs room around her to be shown properly. | 0:30:38 | 0:30:41 | |
She's got the mark here of Fournier. | 0:30:41 | 0:30:44 | |
That's the French sculptor, Paul Fournier, | 0:30:44 | 0:30:47 | |
and it'll date her to the end of the 19th century, | 0:30:47 | 0:30:49 | |
-late 19th or turn of the century. -Right. | 0:30:49 | 0:30:52 | |
She's mounted on this big rouge-marble base here, | 0:30:52 | 0:30:55 | |
which has had a few...nibbles, would be a kind way of putting it. | 0:30:55 | 0:30:59 | |
-It was like that when we got it. -It doesn't really detract. | 0:30:59 | 0:31:02 | |
A lot of them have lost the base altogether, | 0:31:02 | 0:31:04 | |
and she'd still work as a figure without the base. | 0:31:04 | 0:31:07 | |
-She's incredibly heavy, but rather nicely modelled. -Yeah. | 0:31:07 | 0:31:11 | |
We can't sell her for ANY price. | 0:31:11 | 0:31:13 | |
I would suggest that she'd make £300 to £500 at auction... | 0:31:13 | 0:31:16 | |
-Right. -..and that you should put a reserve of £300 on her. | 0:31:16 | 0:31:20 | |
-OK. -Otherwise she's probably not worth selling. | 0:31:20 | 0:31:23 | |
No. I'd rather keep her than just give her away for nothing. | 0:31:23 | 0:31:26 | |
And then you'd have to find a new home for her, | 0:31:26 | 0:31:29 | |
or you could try her again, or something else. | 0:31:29 | 0:31:32 | |
-Does that sound in line with your expectations? -Yes. | 0:31:32 | 0:31:34 | |
I'd like to see her making 500 or 600, | 0:31:34 | 0:31:36 | |
because she's so big and so decorative, she must be worth that. | 0:31:36 | 0:31:41 | |
I bet Ruth turns some heads when she gets to the auction room. | 0:31:41 | 0:31:44 | |
Now I've found Carol with an item that has a secret. | 0:31:44 | 0:31:47 | |
This piece of furniture is the right height for an arm rest. | 0:31:49 | 0:31:52 | |
-It certainly is, isn't it, Carol? -It is. -At the end of a long day! | 0:31:52 | 0:31:55 | |
If you put this on the floor, it would make a wonderful footstool | 0:31:55 | 0:32:00 | |
-with a cushion on it. Have you ever done that? -I haven't. | 0:32:00 | 0:32:03 | |
-So what have you done with this? -It's just been sitting there in the dining room, doing nothing. | 0:32:03 | 0:32:08 | |
Or you could chill your champagne in it. | 0:32:08 | 0:32:10 | |
-That's a very good thought! -You never thought of that! | 0:32:10 | 0:32:13 | |
I had not thought of that, no. Brilliant idea! | 0:32:13 | 0:32:17 | |
It's got a multiple of uses. | 0:32:17 | 0:32:19 | |
-Now, people will be wondering, "What does he mean?" -Exactly. | 0:32:19 | 0:32:23 | |
-"What does he mean?" -Exactly. It's late Victorian, | 0:32:23 | 0:32:26 | |
circa 1880. It's made of Spanish Cuban mahogany. | 0:32:26 | 0:32:29 | |
It would have been owned by a wealthy family in its day. | 0:32:29 | 0:32:32 | |
-Really? -Are you ready? | 0:32:33 | 0:32:36 | |
-Here we go! -HE LAUGHS | 0:32:36 | 0:32:38 | |
-SHE LAUGHS -It's a little tiny baby bath! | 0:32:38 | 0:32:42 | |
-Isn't that cute? -That's right. | 0:32:42 | 0:32:44 | |
That is so cute. This is probably made by Doulton. | 0:32:44 | 0:32:47 | |
Oh! | 0:32:47 | 0:32:49 | |
The frame's made by a cabinet-maker. It's just incredible! | 0:32:49 | 0:32:53 | |
-Do you know how much this is worth? -I haven't a clue. | 0:32:53 | 0:32:55 | |
Well, sadly, only around £60 to £80, | 0:32:55 | 0:32:59 | |
and I think it's a shame to put it into auction for that sort of money. | 0:32:59 | 0:33:03 | |
Yes. I agree. It was just a novelty thing | 0:33:03 | 0:33:05 | |
-I thought would be of interest. -Yeah. | 0:33:05 | 0:33:07 | |
You're better off using it as a footstool. | 0:33:07 | 0:33:10 | |
-I think that's a good idea. -It's quite solid. -Mm-hm. | 0:33:10 | 0:33:12 | |
Or fill it here full of ice, and a bottle of champagne - | 0:33:12 | 0:33:16 | |
-Put champagne in it! -And there you go. -Oh, right! | 0:33:16 | 0:33:19 | |
There's your cellarette. | 0:33:19 | 0:33:22 | |
I love to find a piece of furniture with a multitude of uses. | 0:33:22 | 0:33:26 | |
Our last item is a group of military items | 0:33:26 | 0:33:29 | |
that David has brought along. | 0:33:29 | 0:33:31 | |
-You've got a real assortment here. -Right. Yeah. | 0:33:31 | 0:33:34 | |
-Tell me what you know. -Sam Brownes are for officers. | 0:33:34 | 0:33:37 | |
Swords and swagger sticks are for officers, | 0:33:37 | 0:33:40 | |
and binoculars are for officers. And I was a trumpet major, | 0:33:40 | 0:33:43 | |
which is a staff sergeant in the army. | 0:33:43 | 0:33:45 | |
Trumpet major? Is that the person that... | 0:33:45 | 0:33:48 | |
-Yes. I play at all military funerals... -Oh, do you? | 0:33:48 | 0:33:51 | |
-..of the regiment. -How incredible! -Hard work, | 0:33:51 | 0:33:54 | |
but that's my job. Been there for 23 years. | 0:33:54 | 0:33:57 | |
So these are bits you've picked up over the years? | 0:33:57 | 0:34:00 | |
A few bits of military things. | 0:34:00 | 0:34:02 | |
-OK. Shall we start with the Sam Browne? -Right. | 0:34:02 | 0:34:05 | |
Um, this would originally have had a three-pegged badge | 0:34:05 | 0:34:08 | |
-with the emblem of the regiment on it. -Absolutely. | 0:34:08 | 0:34:11 | |
-Correct. Yeah. -So we can say that this is 1935 | 0:34:11 | 0:34:15 | |
-to 1950, something like that, in period. -Yes. | 0:34:15 | 0:34:17 | |
-Maybe a bit later. -They still use it in dress parades. | 0:34:17 | 0:34:20 | |
Oh, they do. All officers get issued with them. | 0:34:20 | 0:34:23 | |
-Financially they're not worth a lot of money. -No. | 0:34:23 | 0:34:26 | |
We still see a lot of them. Let's move on to the sword. | 0:34:26 | 0:34:29 | |
-Matches nicely, doesn't it, with the leather scabbard. -It does, yes. | 0:34:29 | 0:34:33 | |
-Let's take that out. -Yep. | 0:34:33 | 0:34:35 | |
And we have a single, straight, pointed blade. | 0:34:35 | 0:34:38 | |
-Ah, this is gruesome, isn't it? -It is gruesome, yes. | 0:34:38 | 0:34:41 | |
The idea of the fuller down the centre there, | 0:34:41 | 0:34:44 | |
the fullered blade, so that when you stab somebody, | 0:34:44 | 0:34:47 | |
it's easier to draw the blade out again. | 0:34:47 | 0:34:50 | |
That's why they're made. And it's a sharp point, as well, | 0:34:50 | 0:34:54 | |
-so you can go in quite a long way. -Oh! Moving on very quickly... | 0:34:54 | 0:34:58 | |
And then we've got a... what's known as a basket hilt. | 0:34:58 | 0:35:02 | |
-Yes, it is. -Pierced basket hilt... -Yes. | 0:35:02 | 0:35:04 | |
..and a shagreen grip, wire-bound shagreen grip. | 0:35:04 | 0:35:08 | |
This is made from shark skin. This is chrome. | 0:35:08 | 0:35:11 | |
-We've got the George V cipher there. -Yes. | 0:35:11 | 0:35:13 | |
So this would date to about 1920 to 1930, something around there. | 0:35:13 | 0:35:17 | |
-Yeah. -OK. | 0:35:17 | 0:35:19 | |
-We have a pair of binoculars, again Second World War period. -Yeah. | 0:35:19 | 0:35:23 | |
-1943, I think. -Are they dated somewhere? | 0:35:23 | 0:35:25 | |
-Yes, they are. -Oh, there we are. | 0:35:25 | 0:35:27 | |
Kershaw, maker, 1943. | 0:35:27 | 0:35:30 | |
Typical army officer's binoculars, aren't they? | 0:35:30 | 0:35:34 | |
-Yep. -You see chaps standing out the top of the tanks with these... | 0:35:34 | 0:35:38 | |
-That's right. -..in the war films. Finally we've got the swagger stick. | 0:35:38 | 0:35:41 | |
On the end there we've got the regimental motto... | 0:35:41 | 0:35:44 | |
-Oh, the Royal Corps of Signals! -Yes. | 0:35:44 | 0:35:47 | |
-And in the centre we've got Mercury. -Yes. | 0:35:47 | 0:35:50 | |
And that's a figure of Mercury after a bronze sculptor | 0:35:50 | 0:35:54 | |
called Giambologna, Italian, and Mercury stands | 0:35:54 | 0:35:57 | |
wearing a winged helmet, and little wings on his feet, as well. | 0:35:57 | 0:36:02 | |
-And he was the messenger god, which is why the Royal Corps of Signals use Mercury. -Yeah. | 0:36:02 | 0:36:07 | |
We've got a hallmark for London, 1927, | 0:36:07 | 0:36:11 | |
and there we have a Malacca shaft. | 0:36:11 | 0:36:14 | |
It was seen to be the best material to use as the shaft of a cane. | 0:36:14 | 0:36:18 | |
OK. When it comes to values, we've probably got £10 or £15 there, | 0:36:18 | 0:36:22 | |
the Sam Brownes. I think the sword is £60 to £100. | 0:36:22 | 0:36:26 | |
-Right. -I think the swagger stick is probably £30 to £50. | 0:36:26 | 0:36:31 | |
-Right. -So we're up to about £100 there, | 0:36:31 | 0:36:34 | |
-and there's another ten there. -Right. -So I would say 100 to 150. | 0:36:34 | 0:36:38 | |
-I think that's a good idea. -And what would be your minimum? | 0:36:38 | 0:36:41 | |
I would say 125. | 0:36:41 | 0:36:44 | |
-125. OK. -Would that be all right? -That's fine. | 0:36:44 | 0:36:46 | |
Because the reserve has to be around the bottom end of the estimate, | 0:36:46 | 0:36:50 | |
we'll up the estimate slightly and we'll put 120 to 180 on them. | 0:36:50 | 0:36:54 | |
-All right? -I'll be very happy with that. -Fantastic. | 0:36:54 | 0:36:57 | |
It's time to take our last three items to the auction room, | 0:36:57 | 0:37:01 | |
but first, a quick recap. Leading the charge with his military items | 0:37:01 | 0:37:04 | |
is David, followed by Harry, who wants to give the money from the sale of his Derby figures | 0:37:04 | 0:37:09 | |
to his grandchildren. And finally Angela | 0:37:09 | 0:37:12 | |
and her French bronze statue, that her mother named Ruth. | 0:37:12 | 0:37:15 | |
Thomas Watson's salerooms are buzzing with buyers and sellers. | 0:37:17 | 0:37:20 | |
First up we've got Harry with the Derby figurines. | 0:37:20 | 0:37:24 | |
After the valuation day, he had a chat to the auctioneer, | 0:37:27 | 0:37:31 | |
and changed the "no reserve" to a £40 reserve. | 0:37:31 | 0:37:34 | |
We've got some Royal Crown Derby, two figurines, Air and Water. | 0:37:35 | 0:37:38 | |
They belong to Harry, and all the money is going to the grandchildren. | 0:37:38 | 0:37:42 | |
-How many have you got? -Only two. -What are their names? | 0:37:42 | 0:37:45 | |
Scott and Katie. | 0:37:45 | 0:37:47 | |
OK. And I know initially James put a value of around - what? | 0:37:47 | 0:37:50 | |
-£40 to £60? -50, 70. Yeah. | 0:37:50 | 0:37:53 | |
No reserve, and I know you've had a chat to the auctioneer. | 0:37:53 | 0:37:56 | |
A bit wise! These auctioneers like things with no reserve. | 0:37:56 | 0:38:00 | |
-Ken told me to reserve them. -Did he? | 0:38:00 | 0:38:03 | |
-Let's hope we get top money for this, shall we? -I hope so. | 0:38:03 | 0:38:06 | |
Fingers crossed! | 0:38:06 | 0:38:08 | |
Royal Crown Derby bone-china figures, | 0:38:08 | 0:38:10 | |
at £40. | 0:38:10 | 0:38:13 | |
At £40, the two of them. At 50, can I say? £50. | 0:38:13 | 0:38:18 | |
£60. 70 now. At £60. | 0:38:18 | 0:38:20 | |
-That's good! -That's good. | 0:38:20 | 0:38:22 | |
All they're worth, at £60? Royal Crown Derby. | 0:38:22 | 0:38:25 | |
At £60. They're being sold at £60. | 0:38:25 | 0:38:28 | |
-All finished now, then, at £60? -HE BANGS HAMMER | 0:38:28 | 0:38:31 | |
Well done. Thank you so much for coming in, Harry. | 0:38:31 | 0:38:35 | |
-And thanks for your help. -Pleasure. -Oh, that's all right. | 0:38:35 | 0:38:39 | |
'Right in the middle of the estimate! Well done, James. | 0:38:39 | 0:38:42 | |
'Harry's gone home happy. Will Angela be just as happy | 0:38:42 | 0:38:46 | |
'when her bronze statue, nicknamed Ruth, goes under the hammer?' | 0:38:46 | 0:38:49 | |
Coming up next we've got that wonderful bronze. It's titled Ruth, | 0:38:49 | 0:38:53 | |
-and it made the front page of the catalogue! -It did. | 0:38:53 | 0:38:56 | |
-Who have you brought along with you? -My granddaughter, Emma. -Hello. | 0:38:56 | 0:39:00 | |
Gosh, you're tall, aren't you? | 0:39:00 | 0:39:02 | |
What do you think this is going to go for today, Adam? | 0:39:02 | 0:39:05 | |
Well, having spoken just before, I'm hoping it doesn't sell! | 0:39:05 | 0:39:09 | |
Oh, why? What's happening? I've missed out on something. | 0:39:09 | 0:39:14 | |
Angela's got in trouble with her granddaughter | 0:39:14 | 0:39:16 | |
for offering it without checking with her first. | 0:39:16 | 0:39:19 | |
-Oh! -She had her eyes on it. -This is the inheritance! | 0:39:19 | 0:39:22 | |
Granny's selling all the inheritance, yes. | 0:39:22 | 0:39:24 | |
-Naughty Granny! -What are you doing, Granny? | 0:39:24 | 0:39:28 | |
Never mind. We'll see. She might not sell. | 0:39:28 | 0:39:30 | |
It's quite unusual that we're all hoping that it doesn't sell! | 0:39:31 | 0:39:35 | |
The auctioneer has done us really proud. | 0:39:35 | 0:39:37 | |
It's made all the trade press. It's on the front page, | 0:39:37 | 0:39:40 | |
and I think it should do quite well. I really do. | 0:39:40 | 0:39:44 | |
-I have a suspicion myself. -Oh, dear, oh, dear. | 0:39:44 | 0:39:47 | |
The French bronze, the style of Ruth. | 0:39:48 | 0:39:52 | |
Open the bidding at £200. | 0:39:52 | 0:39:54 | |
-At £200 for the bronze. -Not gone past it. OK. | 0:39:54 | 0:39:58 | |
At £200. At £200, at £200. 220. | 0:39:58 | 0:40:02 | |
250. 280. 300. 320. | 0:40:02 | 0:40:04 | |
-Gone. -Gone! | 0:40:04 | 0:40:06 | |
380. 400. At £400, being sold now. | 0:40:06 | 0:40:10 | |
At £400. Have we all finished? | 0:40:10 | 0:40:13 | |
-The bronze, at £400. All done? -HE BANGS HAMMER | 0:40:13 | 0:40:17 | |
-That was short and sweet. You were bang-on there. -Gone. | 0:40:17 | 0:40:20 | |
Yeah. £400. | 0:40:20 | 0:40:22 | |
-Oh, dear! -I feel like I'm in trouble. | 0:40:22 | 0:40:25 | |
-I didn't want to say! Yes. -I feel like I've been really naughty. | 0:40:25 | 0:40:28 | |
-And would the money come in useful? -THEY LAUGH | 0:40:28 | 0:40:32 | |
What will you do with the money, Granny? | 0:40:32 | 0:40:34 | |
We have two special birthdays in the family this year, | 0:40:34 | 0:40:37 | |
-so it'll come in handy. -And neither of them are yours. | 0:40:37 | 0:40:40 | |
I'm sure Granny's got lots of other lovely things | 0:40:40 | 0:40:42 | |
-that you'll inherit one day. -Yes, I think so. | 0:40:42 | 0:40:47 | |
That's a bittersweet result for Angela and her granddaughter, | 0:40:47 | 0:40:51 | |
but I'm sure the £400 will make up for it. | 0:40:51 | 0:40:54 | |
Luckily, David is happy to sell his collection of military items, | 0:40:54 | 0:40:58 | |
so let's get them under the hammer. | 0:40:58 | 0:41:01 | |
Next up, a collection of militaria belonging to David. | 0:41:01 | 0:41:04 | |
-You can stand at ease now. -Thank you very much. | 0:41:04 | 0:41:07 | |
-You look very smart. -Thank you. For the occasion. | 0:41:07 | 0:41:09 | |
-What regiment is this? -The Royal Tank Regiment. -OK. | 0:41:09 | 0:41:12 | |
-You were in the services for how many years now? -23 years. | 0:41:12 | 0:41:15 | |
And are you donating some of the money to the regiment? | 0:41:15 | 0:41:18 | |
I'm donating half the proceeds to the regiment benevolent fund. | 0:41:18 | 0:41:22 | |
OK. I think your items are the only items of militaria here. | 0:41:22 | 0:41:27 | |
-Yeah. -But we do have the power of the internet, | 0:41:27 | 0:41:29 | |
-so hopefully... -Makes a huge difference. | 0:41:29 | 0:41:32 | |
There's no excuses for an auctioneer any more. | 0:41:32 | 0:41:35 | |
We can't say, "It was the wrong day. No-one was here." | 0:41:35 | 0:41:38 | |
One of the big "Flog It!" excuses out the window! | 0:41:38 | 0:41:40 | |
-It's out of your hands. -It is, yeah. -The auctioneer's hands. | 0:41:40 | 0:41:44 | |
So, fingers crossed. | 0:41:44 | 0:41:46 | |
Collection of military items here, | 0:41:46 | 0:41:48 | |
and opening at £100. | 0:41:48 | 0:41:50 | |
At £100. 110, can I say, for the collection? | 0:41:50 | 0:41:54 | |
110 bid now. £110. £120, can I have? | 0:41:54 | 0:41:58 | |
At £110. 120. | 0:41:58 | 0:41:59 | |
-In the room. -120. 130. | 0:41:59 | 0:42:01 | |
140. | 0:42:01 | 0:42:03 | |
150. | 0:42:03 | 0:42:04 | |
160. 170 with me. 180. | 0:42:04 | 0:42:07 | |
190. | 0:42:07 | 0:42:09 | |
200. 210. | 0:42:09 | 0:42:11 | |
-220. 230. -This is good. -It is good, yeah! | 0:42:13 | 0:42:16 | |
220 beside me, the bid. At £220, being sold there. | 0:42:16 | 0:42:20 | |
You finished, sir? Bidding? 230. | 0:42:20 | 0:42:23 | |
-240. -That's very good. | 0:42:23 | 0:42:25 | |
250. | 0:42:25 | 0:42:27 | |
Nice lot. | 0:42:27 | 0:42:29 | |
No? Shakes his head. 240, then. The bid's beside the rostrum. | 0:42:29 | 0:42:32 | |
-At £240. -£240! | 0:42:32 | 0:42:35 | |
-£240. -That's the excitement of the auction room. | 0:42:35 | 0:42:37 | |
-Isn't that great? -It is. Wonderful. I think so. -£240. | 0:42:37 | 0:42:41 | |
Well, it is exciting when it goes THAT way, | 0:42:41 | 0:42:43 | |
when it does well. It's not so fun when it struggles. | 0:42:43 | 0:42:47 | |
-That's a lot of money, isn't it? -It is, yes. | 0:42:47 | 0:42:49 | |
Half's going to the benevolent fund, anyway. | 0:42:49 | 0:42:52 | |
-And the other half you're keeping. -Probably give it to my family. | 0:42:52 | 0:42:56 | |
-Good. -Well done. -Good to catch up with you. | 0:42:56 | 0:42:59 | |
-You still look so fit and so smart! -Thank you very much, Paul. | 0:42:59 | 0:43:02 | |
That's being in the services for you. | 0:43:02 | 0:43:04 | |
As you can see, I've always kept fit. | 0:43:04 | 0:43:06 | |
'I'm saying nothing, James! But that's a good result | 0:43:06 | 0:43:09 | |
'on our military items.' | 0:43:09 | 0:43:11 | |
It's all over for our owners, | 0:43:11 | 0:43:13 | |
and that concludes another "Flog It!" auction. | 0:43:13 | 0:43:15 | |
What a wonderful day we've had here! A few highs and a few lows, | 0:43:15 | 0:43:19 | |
but that's what auctions are all about - a roller-coaster ride of emotions. | 0:43:19 | 0:43:23 | |
I hope you've enjoyed the show. Join us again soon for many more, | 0:43:23 | 0:43:26 | |
but for now, it's cheerio. | 0:43:26 | 0:43:27 | |
Subtitles by Red Bee Media Ltd | 0:43:27 | 0:43:31 | |
E-mail [email protected] | 0:43:31 | 0:43:35 | |
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